Four creatives discuss side job stigma and why they don’t dictate your success

The Next Generation (formerly known as The Graduates) is a new annual series highlighting the freshest talent new to the creative industry. Whether you’ve recently graduated with an undergraduate degree, or if you’re about to this year. Or, alternatively, if you didn’t go to university at all but are less than a year into your creative career, you’re eligible to apply. Applications are open until midnight BST on Monday 2 August. We want to celebrate a diverse range of talent no matter what medium you work in. From graphic design to fine art and everything in between, wherever you are in the world, please do share your work with us. We can’t wait to see what the next generation of creative stardom has in store!

In the run-up to the showcase, we’re publishing a series of advice articles dedicated to making those first steps in the industry that bit easier. A few months ago we launched a survey calling all emerging creatives to tell us what advice they need and from who. The advice series is a direct response to this survey. It aims to answer the most pressing questions, directly from the voices that wish to be heard. We hope you find the content insightful, useful and inspiring; whatever your next step ahead.

Picture this: you’ve just started out in the creative industry and you’ve found the perfect internship. But it’s only for a couple of days a week and it doesn’t cover your rent. Maybe you’re creating work from your studio, hoping to find representation or make it as a freelancer. Or maybe you’re studying, but the extortionate fees mean you’re lacking coin. So, you take up a side job – this could be at a cafe, bar, restaurant or shop. You work gruelling days, long hours, and you’re nearly burnt out. But you need to buy yourself a new piece of kit, to pay your rent, to afford to live – you have to carry on. You don’t tell anyone about it, really, because you don’t want them thinking less of you as a creative – if you’re not working full-time, then you’re probably not very successful, right?

This is the thought process of many emerging creatives today, who find themselves unable to secure full-time creative jobs without the support of a regular income. To put it into perspective, the Creative Industries Policy and evidence Centre (PIEC) states in its research that just 16 per cent of people in creative jobs are from working-class backgrounds – whereas those from a privileged background, who are qualified to degree-level or more, are over five times more likely to secure a creative role. These imbalances across the UK’s creative industries are rife, and reports like the latest NCTJ Diversity in Journalism are only cementing this fact; 92 per cent of journalism is white, while 75 per cent of journalists had a parent in one of three highest occupational groups. This is in stark contrast to the eight per cent of those with a parent in the lower two occupational groups.

Second jobs are a lifeline for many who can’t rely on the financial support of family. But those who take them on have long been stigmatised for doing so, often left to feel unsuccessful and stuck in a cycle of self-doubt. It’s no secret that the industry is elitist, and creatives shouldn’t have to rely on second jobs to enter the industry. But the thing is, there are some surprising benefits to them – they’re a place to switch off, to meet new people, learn new skills, get inspired and take a step away from your creative work. So, why is there such a stigma attached to side jobs, and how do we shift it?

First things first, it’s important to know that you’re not alone and that these jobs certainly do not define your success. For this article, we’ve spoken to four creatives who’ve worked various side jobs to gain some trusting advice on the topic.

INT: Did you ever experience any challenges along the way?

RO: Oh yes! I’m very used to only making enough to live, you know, so investing in a career that is so expensive has always been a real struggle. I felt discouraged to bet on a career, it felt like I had no means to compete in the market with only the entry-level equipment I was able to afford working so much for so little. As working in the industry is new to me, there’s still a lot I need to invest.

INT: Why do you think there’s such a stigma associated with side jobs?

RO: I think it might be related to people’s idea of success. The thinking is that if someone needs a side job, they are not thriving in their artistic career perhaps. This is nonsense, each person has their own needs, and there’s no problem in working two jobs for whatever reason.

INT: How do you think we can combat this stigma, what do you think needs to be done?

RO: Understanding that the idea of success is individual and not collective. There’s no formula or model for success. Not everyone wishes to make tonnes of money as well. I really think that being successful means being happy in whatever way you can.

INT: Why do you think there’s such a stigma associated with side jobs?

DP: I think the stigma comes from a point of privilege because to me it’s just normal to have to work to survive or get what you need. It’s actually so painful sacrificing your time and energy when your soul is meant to be doing something else. It’s hard to have the will to work to survive, let alone have the will or energy to do what you love on top of that, so I just have so much respect for people working, especially while studying or maintaining their passion.

INT: What advice would you give to someone who’s working a side job?

DP: Be really critical of the institution. Remember you deserve respect and should be treated well. If you can’t afford to take risks then it’s going to be a bit more difficult for you than people who can afford to take risks. Don’t be scared to leave but also be realistic. Never lose sight of your goal or forget the reason you’re working in the first place. Save some energy for your true passion.

Tori West, editor

It’s Nice That: How did your part-time cleaning job help you get to where you are today?

Tori West: I’ve been part-time cleaning for about a year and a half to two years, and only very recently have I managed to give that up. It’s still something I do occasionally, but it’s not my sole income anymore. I've managed to open up a photography studio as part of the magazine Bricks, which has been a long-term goal of mine. I wouldn’t have got here if I wasn’t cleaning for so long, because that really gave me a sense of stability, financially, and the leeway to be able to do what I want further down the line.

INT: What were the positives of working at these jobs?

TW: Mentally, it’s been the best thing for me. While running a magazine and being freelance, it was so hard to find time where I didn’t feel like I constantly needed to be checking my emails on my phone for updates on things that were going on. And it was the only time I could genuinely switch off. I put my phone on aeroplane mode or silent, and I just listen to a podcast and clean. And that also helps me get into a good headspace as I’m not in my own thoughts.

INT: How do you think we can combat this stigma, what do you think needs to be done?

TW: To tackle the stigma, obviously, we need to change the expectations of young children. What do you want to do when you’re older? What do you want to be when you grow up? Where do you want to be in five years? Instead, say things like, ‘what do you enjoy doing for a living?' and ‘what do you enjoy doing?' Because not everyone is in a career, or is going to be in a career, that is something that they enjoy. And that’s fine. Some people just want to work for money, and then fulfilment and everything else comes outside of that.

We need to be more open and talk more about what people are earning, and how we can earn that money. It’s not shameful to talk about money. When I started having conversations with friends about financing – who are all in the creative industry – that changed my life.

INT: What advice would you give to someone just starting out in the industry?

TW: To not feel pressure to work at an expected pace. Your age is not a timeline for how successful you should be. You should work in your own capacity, otherwise, you know you’re just going to burn yourself out, or give yourself impossible goals; you’re just going to be disappointed. And it’s less likely that you’re going to feel good about what it is that you’re doing. Especially if it’s something you’re passionate about. The last thing you want to do is look at a piece of work and think ‘I rushed that’, or ‘I’m not proud of this’, or that ‘this destroyed my mental wellbeing’. Really think about why you’re doing it.